AbstractHistoryArchive Description

The first of a series of studies of Australian book production and consumption. The work is organised into four sections: 'Publishing and Printing', 'Bookshops and Libraries' (including histories of small and specialised libraries), 'Genres and Their Place in the Market' and 'Reading' (including accounts of reading groups and societies). Within each grouping are chapters on related subjects, in some cases accompanied by illustrative case studies.

Notes

Contents indexed selectively.

Contents

* Contents derived from the St Lucia,Indooroopilly - St Lucia area,Brisbane - North West,Brisbane,Queensland,:University of Queensland Press,2001 version. Please note that other versions/publications may contain different contents. See the Publication Details.

'This article focuses on the representation of girlhood, gender and mateship particular to Australia, and to a lesser extent New Zealand, within the context of an emerging nationalism, social change and political upheaval. In it, I apply an illustrator’s perspective to interrogating the cultural significance of Mary Grant Bruce’s iconic outback heroine, Norah of Billabong Station. By comparatively examining Norah’s sequential representation in the narrative text, and the illustrations produced by John MacFarlane, I argue Bruce and her little-known, and rarely discussed immigrant illustrator combined to create an ideal and national type that was counter to anything that had been created for colonial girl readers before.' (Author's abstract)

'This article focuses on the representation of girlhood, gender and mateship particular to Australia, and to a lesser extent New Zealand, within the context of an emerging nationalism, social change and political upheaval. In it, I apply an illustrator’s perspective to interrogating the cultural significance of Mary Grant Bruce’s iconic outback heroine, Norah of Billabong Station. By comparatively examining Norah’s sequential representation in the narrative text, and the illustrations produced by John MacFarlane, I argue Bruce and her little-known, and rarely discussed immigrant illustrator combined to create an ideal and national type that was counter to anything that had been created for colonial girl readers before.' (Author's abstract)